Modern Monologue

<p><em>The Modern Monologue</em> in two volumes, one for men and one for women, is an exciting selection of speeches drawn from the landmark plays of the 20th century. The great playwrights of the British, American and European theatre-- and the plays most constantly performed on stage throughout the world--are represented in this unique collection.<br><br> Monologues of all types--both serious and comic, realistic and absurdist--provide a dynamic challenge for all actors: the student, the amateur and the professional.<br><br> A fuller appreciation of each speech is enhanced by the editors' introduction and commentaries that set the plays and individual speeches in their dramatic and performance contexts.</p> Chapter 1 Absent Friends (1974), Alan Ayckbourn; Chapter 2 All My Sons (1947), Arthur Miller; Chapter 3 American Buffalo (1975), David Mamet; Chapter 4 Antigone (1944), Jean Anouilh; Chapter 5 Becket (1959), Jean Anouilh; Chapter 6 Bingo (1973), Edward Bond; Chapter 7 The Blood Knot (1961), Athol Fugard; Chapter 8 Blues for Mister Charlie (1964), James Baldwin; Chapter 9 Caligula (1945), Albert Camus; Chapter 10 The Caretaker (1960), Harold Pinter; Chapter 11 The Caucasian Chalk Circle (1948), Bertolt Brecht; Chapter 12 Chips With Everything (1962), Arnold Wesker; Chapter 13 Cloud Nine (1979), Caryl Churchill; Chapter 14 Curse of the Starving Class (1976), Sam Shepard; Chapter 15 A Day in the Death of Joe Egg (1967), Peter Nichols; Chapter 16 East (1975), Steven Berkoff; Chapter 17 Entertaining Mr Sloane (1964), Joe Orton; Chapter 18 Faith Healer (1979), Brian Friel; Chapter 19 The Glass Menagerie (1945), Tennessee Williams; Chapter 20 The Homecoming (1965), Harold Pinter; Chapter 21 The House of Blue Leaves (1971), John Guare; Chapter 22 Huis Clos, In Camera/No Exit] (1944), Jean-Paul Sartre; Chapter 23 The Iceman Cometh (1940), Eugene O’Neill; Chapter 24 Krapp’s Last Tape (1958), Samuel Beckett; Chapter 25 La Turista (1967), Sam Shepard; Chapter 26 Long Day’s Journey into Night (1940), Eugene O’Neill; Chapter 27 Look Back in Anger (1956), John Osborne; Chapter 28 The Maids (1947), Jean Genet; Chapter 29 Murder in the Cathedral (1935), T. S. Eliot; Chapter 30 Napoli Milionaria (1945), Eduardo de Filippo; Chapter 31 The Night of the Iguana (1961), Tennessee Williams; Chapter 32 Otherwise Engaged (1975), Simon Gray; Chapter 33 Present Laughter (1942), Noël Coward; Chapter 34 The Price (1968), Arthur Miller; Chapter 35 Pygmalion (1912), Bernard Shaw; Chapter 36 The Resistible Rise of Arturo Ui (1941), Bertolt Brecht; Chapter 37 Rhinoceros (1960), Eugène Ionesco; Chapter 38 Rosencrantz and Guildenstem are Dead (1966), Tom Stoppard; Chapter 39 The Rules of the Game (1919), Luigi Pirandello; Chapter 40 The Ruling Class (1968), Peter Barnes; Chapter 41 Sexual Perversity in Chicago (1974), David Mamet; Chapter 42 Spring Awakening (1892), Frank Wedekind; Chapter 43 A Streetcar Named Desire (1947), Tennessee Williams; Chapter 44 Table Manners (1973), Alan Ayckbourn; Chapter 45 The Tooth of Crime (1972), Sam Shepard; Chapter 46 Ubu Cuckolded (c. 1892), Alfred Jarry; Chapter 47 Who’s Afraid of Virginia Woolf? (1962), Edward Albee;